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Articles about craft.

How to Prepare for NaNoWriMo: To Outline or Not To Outline

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Image courtesy of National Novel Writing Month
Image courtesy of National Novel Writing Month

This post by  originally appeared on Writer’s Digest on 10/27/15.

November is almost here, which means two things: 1) You’re going to be seeing a lot of mustaches and 2) it’s time to start preparing for National Novel Writing Month (NaNoWriMo).

Over the coming weeks, with the help of my friend and author Kevin Kaiser, I’m going to offer some tips on how to prepare for and accomplish the NaNoWriMo goal of writing 50,000 words in 30 days. Let’s get this started with this guest post from Kevin on outlining your story before the November 1 start date.

Should You Outline Ahead of Time?

It’s an age-old debate: Should writers meticulously outline a story before beginning or should they simply sit down at the keyboard and start typing, blindly trusting that the characters will reveal what should happen next?

Like most things in life, I believe it’s both/and, not either/or. Even the most fly-by-the-seat-of-your-pants writer has a general idea of where things are going, if only in her head. But what is a NaNoWriMo participant supposed to do? After all, thirty days goes by quickly.

1. Realize that NaNoWriMo is, above all, about finishing.

About 250,000 people began NaNoWriMo last year, according to the Office of Letters and Light, the non-profit behind the writing program. Only about 33,000 people actually finished the challenge and put 50,000 words to paper—that’s just 14 out of 100 people!

NaNoWriMo is about finishing, and not creating the next great American novel. It’s about proving to yourself that you can lay down at least 1,600 words per day for a whole month even if they’re a spectacular mess.

I wonder how many of the 86% that didn’t finish spent so much time overthinking their story that they simply didn’t write it. In the case of NaNo, do not allow perfectionism or fear creep in and paralyze you.

Read the full post on Writer’s Digest‘s site.

Elizabeth Gilbert’s Top 10 Tips for Writers to Stay Inspired and Kick-Start Your Creativity

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Editor’s note: Any NaNoWriMo’s out there? National Novel Writing Month, where you try and write 10,000 words in the month of November is almost here. So you may notice posts that are a little skewed towards NaNoWriMo success for the next few weeks. If you have any questions, helpful hints, or good articles, let me know at paula@publetariat.com. My NaNoWriMo user name is Paula1849.

This post by Cynthia originally appeared on her site on 10/26/15.

The dreaded blank page. You just can’t find that perfect opening line. Or maybe you’ve finally hit the crucial point in your story only to find that – poof! – inspiration has vanished. Whether you’re a seasoned author or someone struggling to get those first scenes down, there’s always a time where the words stop flowing. Elizabeth Gilbert, whose most recent book, Big Magic: Creative Living Beyond Fear, delves into the many ways we can spark creativity in our lives, recently answered some questions from readers via Ask the Author on Goodreads. It’s no surprise that many of her answers offered encouragement and support to other writers. Read on for 10 ways to conquer that blank page!

Tip #1: Start Writing.

“At some point today, sit down with paper or a laptop, and set a timer for 15 minutes. You are not allowed to stand up until the 15 minutes are over. During that 15 minutes, write something. Anything — a letter, a poem, a list of people you hate, a prayer, all your favorite words, a childhood memory, a dream. Something. When the timer goes off, you’re done. Pat yourself on the back. You did it! Now do the same thing tomorrow. And the next day. You can do anything for 15 minutes a day. Trust me – stuff will start to happen.” Click here for the full answer.

 Read the full post on Cynthia’s site.

Create A Compelling Book Title

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This post by Rachelle Gardner originally appeared on her site on 9/17/15.

I’ve been coaching several of my clients through the process of coming up with a good title for their book, so I thought I’d share my tips with you.

Let’s start by acknowledging a few things. The publisher is usually responsible for the final decision on title, and in the query stage, it’s not that important. In fact, some agents have said they don’t pay any attention at all to titles. But at some point, you’re going to want to think seriously about this. Your title is part of the overall impression you’re creating about your book. It can set a tone and create an expectation. Whether you’re pitching to an agent, or your agent is pitching to publishers, I think you want to have the strongest title possible.

Think of it this way: the better your title is, the better your chance that the publisher will decide to use it, rather than changing it.

So here’s what I recommend when you need a title, for either fiction or non-fiction.

 

Read the full post on Rachelle Gardner’s site.

Reality 301 With @heidicullinan

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This post by Heidi Cullinan originally appeared on her blog on 5/15/13.

Tonight Twitterverse roared with outrage over Kendall Grey’s post on Authors for Life where she bemoans the fact that sometimes, publishing is hard. Grey spent four years writing and a great deal of money and effort promoting an urban fantasy trilogy; it tanked. She wrote an erotic novel she describes as a “piece of trash” in two months, spent much less in promotion and gave it much less effort, and that book made some decent money. She’s angry that she wasn’t rewarded for her “beautiful, artistic” book and that by selling out she made money. Grey writes:

I know it’s depressing to hear that in order to find success, you may have to compromise your principles. I’ve come to grips with the fact that in the current market, trashy smut sells, and urban fantasy does not. Tough shit for me. If you want to sell books, you have to feed the market what it craves.

Grey goes on to state that

once you’ve done your part to feed the reader machine, and you get paid ridiculous amounts of money for publicly shaming yourself and lowering your standards, you’ll be armed with the power to write what you want.

I think the best place to start in response is to take a moment to acknowledge where this kind of selfish, angry thinking comes from, and like most things gone awry, it starts from something well-meaning. We could build several acres of affordable housing out of the stacks and stacks of books, blogs, and inspirational memes urging writers to write from the heart, to follow your vision, to let your voice ring out and be heard. The problem is that almost always after that advice comes the promise that should a writer (or any artist, really) follow this path of purity, success and happiness will unquestionably follow.

It’s not that this promise isn’t true, exactly. It’s that for far, far too many writers “success and happiness” gets equated with “lots of money and fame.” Here’s the reality of making art: the brass ring is BRASS, not gold. To believe even for a moment that simply producing the work of one’s heart means one will now be a bestseller is beyond naive. To proceed as if commercial success is due because of one’s effort or expenditure is embarrassingly foolhardy. But most of all, publicly ridiculing readers, especially one’s own, is a hanging offense, and anyone who commits it will very quickly feel the cinch of a brutal noose.

 

Read the full post on Heidi Cullinan’s blog. Note that it contains strong language.

 

Getting Ready for NaNoWriMo

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This post by Steve Shepard originally appeared on Storyist.

“What are you writing this year?”

It’s the question on everyone’s lips at the regional NaNoWriMo kickoff parties. The answer, even among seasoned NaNoWriMo veterans, is often “I don’t know.” So if you don’t know either, relax—you’re in good company. Heck, even Chris Baty, the NaNoWriMo program director and cheerleader in chief, claims he doesn’t know what he’s writing yet.

If you’re looking for ideas, there are pleny of resources available to you: The NaNoWriMo forums, and Chris’s book No Plot? No Problem! are two of the best.

As this is my fourth year participating in NaNoWriMo, I thought I’d add to the mix by writing a quick how-to on the techniques that have worked for me.

 

Play “What If?”

So what should you write?

Conventional wisdom says that you should write what you know. If you’re a teacher, write about a teacher facing one of the many struggles teachers face. If you’re an accountant, write about an accountant facing accountant stuff.

Or not.

I disagree with this “conventional” wisdom. For many writers, part of the joy of writing is in learning about something new, and in living in a world of your making. The trick is finding a story idea that captures your imagination.

One of the more effective ways to do this is to play a game of “What If?” Look around you and ask what would happen if something you cared deeply about changed in a significant way. For example:

 

Read the full, lengthy post, which includes practical tips for mapping out your NaNoWriMo plan, on Storyist.

Steven Pinker: ‘Many of the alleged rules of writing are actually superstitions’

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This post by Steven Pinker originally appeared on The Guardian on 10/6/15.

Bad English has always been with us, but clarity and style are far more important than observing dusty usage diktats

People often ask me why I followed my 2011 book on the history of violence, The Better Angels of Our Nature, with a writing style manual. I like to say that after having written 800 pages on torture, rape, world war, and genocide, it was time to take on some really controversial topics like fused participles, dangling modifiers, and the serial comma.

It’s not much of an exaggeration. After two decades of writing popular books and articles about language, I’ve learned that people have strong opinions on the quality of writing today, with almost everyone finding it deplorable. I’ve also come to realise that people are confused about what exactly they should deplore. Outrage at mispunctuation gets blended with complaints about bureaucratese and academese, which are conflated with disgust at politicians’ evasions, which in turn are merged with umbrage at an endless list of solecisms, blunders, and peeves.

I can get as grumpy as anyone about bad writing. But as a scientist who studies language for a living (and who has had to unlearn the bad habits of academic writing) I long ago developed my own opinions on why so much prose is so egregious.

 

Read the full post on The Guardian.

The Old Editor Brings It

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This post by John E. McIntyre originally appeared on The Baltimore Sun on 10/5/15.

The question: I believe you are an expert at this. Please explain the usage of take and bring! I am driven crazy by what, seems to me, is the mixed and incorrect usage of these words.

The Old Editor answers: What causes distress is a schoolroom oversimplification, the curse of English grammar.

Your teachers likely told you that bring is for movement toward the speaker, take for movement away from the speaker. This is apt in many cases.

But that distinction collapses when, as Merriam-Webster’s Dictionary of English Usage says, when the point of view is irrelevant. This will require some explication.

Grammar Girl gives an example: “The simple rules fall apart when you consider an event in the future where nobody has arrived yet. Do you bring rum cake to the school bazaar or do you take rum cake to the school bazaar? It simply depends on where you want to place the emphasis of the sentence—which perspective you want to adopt.”

 

Read the full post on The Baltimore Sun.

 

The Consistency Of Your Voice

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This post by Ksenia Anske originally appeared on her site on 9/29/15.

You know that feeling you get when you read a fantastic book and it gives you shivers? When every page you turn makes you want to read more and more, and every sentence is so bloody good you want to read it twice and when you get to the end you’re devastated the book is over? I have been pondering about this lately, having recently read three books that took my breath away, THE OLD MAN AND THE SEA by Ernest Hemingway and THE RITUAL by Adam Nevill and CRUDDY by Lynda Barry, and having dug up more information on all [the] authors and having read this interview with Adam Nevill and having put WHAT IT IS by Lynda Barry (a book on her creative method) and Hemingway’s ON WRITING on hold at the library, and all this pondering led me to write this post.

What was it so special about these books that got me?

The consistency of the voices. And where does this consistency come from? From rewriting until you bleed out of your eyes, it seems. In his interview Adam said that “there are ten versions of The Ritual on my computer. In fact there are some chapters that I cut out. Although I really liked the chapters, my inner reader said: this doesn’t feel right…. You have to trust your inner reader, write a draft and then leave it. When you go back to it, ensure you look at it with fresh eyes. If you’re only able to write a couple of evenings a week, because of work and other commitments, every time you return to it, you often find that the voice has changed. A lot of the re-writing is about making the voice consistent throughout.”

 

Read the full post on Ksenia Anske’s site.

 

Round-Down: On Women Writers And the Fallout from ‘Confession’ in the Digital Age

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This post by Cathe Shubert originally appeared on Ploughshares on 9/22/15.

Social media is in the spotlight—or crosshairs, as it may be–in the literary landscape this week. Several articles and author interviews have touched upon both the benefits and the tremendous costs known to an author maintaining their online presence, none of them coming to a firm conclusion about whether it’s better to be Harper Lee or Hanya Yanagihara, Cheryl Strayed or Elena Ferrante when promoting a book. All of the attention being paid to how we market ourselves online has me asking: Does social media pose yet another disadvantage to women writers? Or is it a blessing that gives us easier access to mainstream audiences? Women are particularly vulnerable to the lure of public confession that the internet seems to demand—and they are most likely to be the ones to suffer fallout from it.

After Laura Bennett’s piece in Slate raised the question of whether publication of personal confessions is exploitative, The Guardian interviewed a variety of editors for outlets that often publish gone-viral first person essays. Curiously, all of these editors were themselves women and not all of them agreed on whether women were more likely to write confessionals than men.

 

Read the full post on Ploughshares.

 

Alfred Hitchcock's Bomb: Suspense, Surprise, and Emotion in Narrative

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This post by Peter Ginna originally appeared on his Dr. Syntax blog on 9/21/10.

Although I am a nonfiction publisher at the moment, I still love to read fiction in a variety of genres, from literary novels to thrillers. And I think for most editors it’s impossible to read a book without your editorial reflex twitching from time to time, especially when you see the author make a misstep. This week I have been reading an adventure novel that made me think yet again about the distinction between surprise and suspense–and in a broader way, what draws readers into a narrative.

Something I frequently say to nonfiction narrative authors is, “Imagine how they’re going to do this when they make your book into a movie.”

Filmmakers learn to boil a story down to its essence, and to find the most dramatic way to organize the elements of a narrative. They think about this stuff all the time. And it was Alfred Hitchcock who gave one of the most famous explanations of how suspense and surprise differ.

There is a distinct difference between “suspense” and “surprise,” and yet many pictures continually confuse the two. I’ll explain what I mean.

 

Read the full post on Dr. Syntax.

 

WorldCat Service Lets You Search Over 10,000 Libraries Around The World

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This post by April Hamilton originally appeared on her Digital Media Mom site on 9/16/15. It’s included here because, combined with inter-library loans, this free service is an extremely valuable research tool for authors.

 

The very useful and totally FREE WorldCat site and mobile app let users search a global network of libraries for books, CDs, articles and more: pretty much anything you’d find in physical form in a public library.

 

 

Sign Up For A FREE User Account, Or Not…
It’s free to sign up for a user account, and having an account gives users the ability to create lists, bibliographies and reviews. But you don’t have to sign up to use the site’s search functionality. For example, look at this search results page I got for a specific book without having a user account (tap or click on images to view an enlarged version in a new tab or window):

 

 

Notice that the site used my location information, probably based on my IP address, to tell me where I could find libraries close to me (red arrow). Scrolling down, I can find a listing of libraries in my general area that currently have this book in their collections:

 

 

Read the full post on Digital Media Mom.

 

That’s Too Much: The Problem with Prolific Writers

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This post by Drew Nellins Smith originally appeared on The Millions on 9/2/15.

Lately I’ve been struck by the notion that there might be no books more lost than those buried in the overwhelming bibliographies of authors who have simply published too damn much.

On Thursday, The New York Times published an op-ed defense of prolific writers by one of the modern era’s most prolific writers himself, Stephen King. It was a timely bit of writing for me, a non-prolific writer with a first book deal in the works, for whom the question of appropriate literary output is often debated.

In King’s take, which is certainly worth a read, he basically argues two things. One, that there are great works buried in the overwhelming bibliographies of some writers. (i.e. “Alexandre Dumas wrote ‘The Count of Monte Cristo’ and ‘The Three Musketeers’ — and some 250 other novels.”) And two, that for some authors, like him and Joyce Carol Oates, “prolificacy is sometimes inevitable.” He describes the crazy-making clamor of the voices in his head since his youth, all the stories crying out to be written.

 

Read the full post on The Millions.

 

The First-Person Industrial Complex

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This article by Laura Bennett originally appeared on Slate on 9/14/15.

The Internet prizes the harrowing personal essay. But sometimes telling your story comes with a price.

A few months ago, Natasha Chenier submitted a piece to Jezebel about her sexual relationship with her dad. She described meeting her biological father for the first time at age 19 and being gradually overtaken by lust for him. She recalled being so wracked by disgust and shame after the second time they had oral sex that she dry-heaved over the toilet in his bathroom. “He lay on his bed looking aloof during those episodes,” she wrote, “spouting empty assurances like, ‘You’ll be fine.’ ”

Writing that essay, she recalls now, was “terrifying.” But in a way, it felt inevitable, too. Chenier, now 27, had always kept a diligent journal and had been reading Jezebel for years. “I had this story I’d always wanted to tell,” she says, “and suddenly I felt like the world was ready.”

Jia Tolentino, Jezebel’s features editor, contemplated the draft. It was sure to be a blockbuster. It had graphic and devastating details, yet a matter-of-fact narrative voice. It would feed the Internet’s bottomless appetite for harrowing personal essays. But she tried to explain to Chenier just what airing this story could mean for her life: “Since she was new to writing, I just wanted to confirm—was she ready for this to be on her Google results forever?” Tolentino gave her the option of publishing under a pseudonym. But Chenier seemed confident that she knew what she was getting into. “She was sure she wanted to build her writing career around this,” Tolentino says. When Jezebel published the piece, titled “On Falling In and Out of Love With My Dad,” it ran with a bright red illustration of a bed between the words “I” and “Dad.” Of course, the essay went viral.

 

Read the full article on Slate.

 

Virginia Woolf on Why She Became a Writer and the Shock-Receiving Capacity Necessary for Being an Artist

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This post by Maria Popova originally appeared on Brain Pickings on 9/9/15.

“Behind the cotton wool is hidden a pattern…the whole world is a work of art… there is no Shakespeare… no Beethoven…no God; we are the words; we are the music; we are the thing itself.”

“Only art penetrates … the seeming realities of this world,” Saul Bellow asserted in his Nobel Prize acceptance speech. “There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which without art, we can’t receive.” Pablo Neruda illuminated this notion from another angle in his magnificent metaphor for why we make art, but the questions of what compels artists to reach for that other reality and how they go about it remains one of the greatest perplexities of the human experience.

No one has addressed this immutable mystery with more piercing insight than Virginia Woolf (January 25, 1882–March 28, 1941). In one of the most breathtaking passages ever written, found in her Moments of Being (public library) — the magnificent posthumous collection of Woolf’s only autobiographical writings — she considers what made her a writer and peers into the heart of the sensemaking mechanism we call art.

 

Read the full post on Brain Pickings.

 

Writing Begins With Forgiveness: Why One of the Most Common Pieces of Writing Advice Is Wrong

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This post by Daniel José Older originally appeared on Seven Scribes on 9/9/15.

Writing advice blogs say it. Your favorite writers say it. MFA programs say it.

Write every single day.

It’s one of the most common pieces of writing advice and it’s wildly off base. I get it: The idea is to stay on your grind no matter what, don’t get discouraged, don’t slow down even when the muse isn’t cooperating and non-writing life tugs at your sleeve. In this convoluted, simplified version of the truly complex nature of creativity, missing a day is tantamount to giving up, the gateway drug to joining the masses of non-writing slouches.

Nonsense.

Here’s what stops more people from writing than anything else: shame. That creeping, nagging sense of ‘should be,’ ‘should have been,’ and ‘if only I had…’ Shame lives in the body, it clenches our muscles when we sit at the keyboard, takes up valuable mental space with useless, repetitive conversations. Shame, and the resulting paralysis, are what happen when the whole world drills into you that you should be writing every day and you’re not.

 

Read the full post on Seven Scribes.